Tuesday, March 14, 2006

A Note on Our Contributor

Due to the enormous popularity and critical response to our most recent posting, we here at The Encouraging Voice of The Labyrinth decided to continue with a further posting derived from results from the F-1 Time Scoop in Subic Bay. However, we must also address the attendant controversy that many commentators have noted about this research project and our reasons for publishing results derived from this source.

Originally hailed as a breakthrough in the intelligence communities, the F-1 Time Scoop has met with violent skepticism and disbelief from its inception. It avoids the many causal paradoxes attendant on time travel that result from the communication of matter, energy or information from the future to the past by a virtual process called flawed lapse modeling. Part of the proof of concept of the technology and process involved had as its basic premise that there would never be a direct proof available that the process actually worked.

As such, the project was always severely vulnerable to logical criticism as many parapsychological endeavors (such as remote viewing) and worse that it was oft compared to. At best it operated on a purely descriptive theory of its constituent phenomenon which few ventured to explain. Most attempts at a more robust or substantive account were short-lived or abortive: for one thing, most treatments ran directly into the problem of the energy required for its theoretical operation, which could be easily and readily calculated as well in excess of any known astronomical phenomena. In the end, no one could substantively prove or describe why it should work, or definitively demonstrate that it did, which compelled some to dismiss the whole thing as “epistemically or ontologically unacceptable”. Most scientists simply resigned themselves to a “hypothesis non fingo”, though at least one cosmologist posited that the energy driving the Time Scoop must originate in some distant future event that could only be non-relativistically described as a simultaneous explosion at every point in time/space, an “Everything Everywhere Bang” that sent the particles backwards through time. As no one could provide an explanation of why this should happen, the theory was thought as rather question begging.

This criticism only became more violent and trenchant when the first results of the Time Scoop became available in classified circles. Initial test material from the remote near future was categorically rejected by the current administration as “unrealistic, unacceptable and unthinkable.” As the probe progressed further, even many of the original supporters became disenchanted and incredulous of the results. Finally, the last straw was the revelation that no records or information could be found concerning the project’s inception, creation, or development. The whole project came to be viewed as some military-industrial bureaucratic academic folie à deux, a hoax or unintentional blowback from earlier disinformation campaigns resulting in the appearance of an actual project, much like the Navy’s Investigation of the U.S.S. Eldridge incident and Project Pink.

We at The Encouraging Voice of The Labyrinth, however, continue to receive updates and communications from the facility at Subic Bay, and, for our own reasons, remain unfazed and undeterred by paradox or the appearance of deception: Piltdown man may have been a hoax, but evolution is not. We are encouraged by grounds we cannot entirely describe here, but not the least of which is a link emailed to us that appears to link to a future edition of The Encouraging Voice of The Labyrinth. We have tried to copy this and many other links, but they do not seem to transfer, being not recognizable as html or xhtml and often resulting in dead links. We know that this poses some obvious logical questions that we are not in a position to explain, though many readers have noted that the earliest entries seem to describe the completion of a feature length movie, a trip to China and other events that we are also at a loss to explain at present, given their apparent posting date.

The redactions, spellings, punctuation in our excerpt appeared in the original.

Van Choojitarom, Editor

Review: "To Live to A Certain Age and Meet People": Two Hands Up! Way Up!

A review by [name redacted]

To Live to A Certain Age and Meet People has been widely anticipated as a crossover film that both artificial intelligences and humans can enjoy, and as one of the few human reviewers permitted to review the film, I can certainly say that it lives up to the hype as an experience well within the survival tolerances of healthy adult humans with no prior history of epilepsy. The much anticipated paring of artificial cinema’s most powerful quantum loop computer supercluster auteur, IBM’s “The Turk”, directing the immensely popular and stealthy “Tannhauser” drone copter alongside humanity’s most popular actress Lakota Rhys Fanning with the master turns by a venerable supporting cast including Keisha Castle Hughes and the reanimated corpse of Cher, is a true hybrid film, combining traditional elements of human entertainment, such as plot, dialogue, characters, and extended things in space and time, with the newer innovations of the cinema of artificial intelligence, such as blocks of information, ordered sequences, successive strings, patterned modeling and recursive functions.

Much of the film focuses on Fanning and the “Tannhauser” drone copter’s relationship; whether Fanning is walking, running, taking cover, or attending to some distinctly human function, the “Tannhauser” drone copter is there, hovering, following, emerging from different corners of the screen in ways no human reviewer can truly follow or give justice. Much of the action of the film is simply their relationship. Is the “Tannhauser” drone copter following Fanning? Is she its target, or something else? The answer is, of course, that she is the target, but neither this, nor any other verbal information I might provide will spoil the movie for you, because the one of the highlights of artificial cinema is that there are no surprises for a human viewer, or, if you prefer, only surprises.

[passage redacted]

The “Tannhauser” drone copter gives the most remarkable performance of its career, including the surgical strike on Namp’o Children’s Hospital, or its giddy, youthful turn in #//target: I’m Following You. These performances are all the more remarkable and nuanced in that the “Tannhauser” drone copter, is of course, nearly invisible and undetectable to the unaided human senses. In all of its performances the “Tannhauser” drone copter has excelled in an underplayed and subtle ways of making it presence known, whether it’s the disturbance of a single leaf in To Live to A Certain Age and Meet People or uncancelled micro-cavitations when it accelerates in #//target: I’m Following You or the sudden violent eruption of a DNA profiled missile, “Tannhauser” drone copter, lives up to it’s name as a quiet, thoughtful professional “The Sir Alec Guiness of the Skies” “Invisible Whisper of Death from Above,” and “Many-Bladed Ninja Death Copter”

[passage redacted]

as in the great works of Japanese and artificial Japanese cinema, implication, silence and stealth are the often the elements out of which the films of the “Tannhauser” drone copter are composed, films which, as [name redacted] noted, are paradoxically visual essays about the invisible [passage redacted] (though the film is projected as such a speed that allows most humans to focus their eyes on it without much permanent damage).

[passage redacted]

oft repeated criticisms heard by early reviewers of artificial cinema was that it was unwatchable. While this was literally true in some of the IR silents, what early critics failed to appreciate was how much artificial cinema shared with some human conventions. Many early viewers were confused and bored by the cybernetic convention of a beginning string identifying the data to be transmitted; but this is really no different than the trailer, if you will, or the old dumbshow before the play. True, artificial films contain a great deal of information, some say more than human beings can process in the time allowed [passage redacted] no different than the etymology that begins Moby Dick, or its frequent passages on cetology, or Tolstoi’s random chapters on his theory of history in Vojna i mir , or the blank pages of Tristam Shandy. [passage redacted] that the human production it most resembles is C++.

[passage redacted]

IBM’s “The Turk” shows that it’s not just good at outplaying and hunting down human chessmasters and keeping track of 20 billion identity chips, just as Lawrence Livermore’s DNA Supercomputing Cluster, “Supercrick” and NEC Dark Matter Simulator showed with their comedic turn in their hilarious slapstick comedy Human, Will You Feel Electrical Shock? (“Yes” means “No”).

[passage redacted]

Next Week: [passage redacted] USDOD “Total Earth Action Real-time Simulator” “Deep Asset” [passage redacted] USDOE/USDNNSA -212 [passage redacted] Tom Cruise [name redacted]